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151.
Nonfunctional Parsimony and Tonal Ambiguity in the Late Lieder of Franz Liszt
by Seguin, Abigail L., M.M.  University of Louisiana at Lafayette. 2014: 126 pages; 1557576.
152.
“Cinco canciones con versos de Juana de Ibarbourou”: The art song style of Ernesto Lecuona
by Villaverde, Christina Diane, D.M.  The Florida State University. 2011: 106 pages; 3498115.
153.
Online Note Onset Detection for Piano Pieces
by Macias, Michael, M.S.  The University of Mississippi. 2014: 55 pages; 10185402.
154.
Chamber works for flute by Marlos Nobre
by Feller, Carlos, D.M.  The Florida State University. 2012: 99 pages; 3519313.
155.
Modeste Mussorgsky's “Songs and Dances of Death” [A performer's guide]
by Barton, Peter Alan, D.M.A.  University of South Carolina. 2011: 104 pages; 3488352.
156.
A Comparative Study of the Songs of William Denis Browne
by Burns, Kelly Wilson, D.M.A.  The University of North Carolina at Greensboro. 2018: 79 pages; 10751398.
157.
An analysis of selected percussion ensemble arrangements
by Moyer, Iain, D.M.A.  The University of Oklahoma. 2010: 207 pages; 3412544.
158.
Selected Pulitzer Prize-winning composers' changing views on composing for wind band
by Bennefield, Troy, D.M.A.  The University of Oklahoma. 2012: 128 pages; 3523038.
159.
Rediscovering Chaminade's "Six Études de Concert," Op. 35
by Chiang, Clare, M.M.  California State University, Long Beach. 2016: 36 pages; 10142971.
160.
Copresence and coordination in jazz musicians' collaborative music -making
by Levine, Michelle F., Ph.D.  New School University. 2010: 133 pages; 3403447.
162.
Nonlinear weir hydraulics
by Dabling, Mitchell R., M.S.  Utah State University. 2014: 111 pages; 1584298.
163.
Harmony, form, and voice leading in the mature works of Antonín Dvořák
by Partridge, Daniel J., Ph.D.  City University of New York. 2012: 420 pages; 3543726.
164.
Aaron Copland's “Twelve Poems of Emily Dickinson”
by Scheller, Erin Elizabeth, M.M.  California State University, Long Beach. 2010: 81 pages; 1486438.
165.
An analysis and overview of selected original compositions
by Soto, Miguel, M.M.  The University of Texas at El Paso. 2009: 61 pages; 1461176.
166.
A Performer's Guide to Minoru Miki's Sohmon III for Soprano, Marimba and Piano (1988)
by Ozaki-Graves, Margaret, D.M.A.  University of Cincinnati. 2011: 135 pages; 3474013.
167.
Music and national identity: A study of cello works by Taiwanese composers
by Wu, Yu-Ting, D.M.A.  City University of New York. 2010: 181 pages; 3397417.
168.
169.
171.
Sonata for Violin and Piano
by Kim, Seong Ae, Ph.D.  State University of New York at Stony Brook. 2013: 47 pages; 3589708.
174.
The effect of instrumental proficiency on jazz vocal improvisation
by Preponis, Francesca Delfin, M.M.  California State University, Long Beach. 2009: 57 pages; 1472244.
175.
Contemporary harpsichord music: Issues for composers and performers
by Lindorff, Joyce Zankel, D.M.A.  The Juilliard School. 1982: 122 pages; 3420131.
176.
Uncovering Three Trumpet Works of Sofia Gubaidulina
by Parker, Dillon D., M.M.  California State University, Long Beach. 2017: 25 pages; 10261524.
178.
Musicien Français: Nationalism and tradition in Claude Debussy's violin sonata
by van den Bogerd, Nicolette Maria Madeleine, M.M.  California State University, Long Beach. 2014: 48 pages; 1526967.
179.
180.
More than words: A comparative study of Liszt's Liebesträume and the songs from which they were transcribed
by Byeon, Grace, M.M.  California State University, Long Beach. 2014: 31 pages; 1527893.
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